Re: French Touch

Subject: Re: French Touch
From: Dominique Bassal (
Date: Fri Oct 28 2005 - 12:51:36 EDT

Le 05-10-28, à 09:59, Kevin Austin a écrit :

> At 09:40 +0100 2005/10/28, Pierre Alexandre Tremblay wrote:
>> My favourite exemple to show that is to take two albums made on the
>> same year, creatively us the top of the studio techniques available
>> at the time.
>> --
>> Genesis's Selling England by the Pound
>> Michel Chion's Requiem
>> --
>> Radiohead's Kid A
>> Louis Dufort's Pointe-aux-Trembles
> Maybe Dominique Bassal could comment on this as it is part of his
> presentation on "Mastering in Ea for CD".

I used :

The very best of Cream
Parmegiani's Violostries
Steely Dan's Two against nature
Martin Sig Andersen's SleepDriver (unmastered)
Yello's The eye
Martin Sig Andersen's SleepDriver (mastered)


The reasons of my choice is that Cream and Parmegiani still had access
to more or less equivalent technology, while 35 years later, the
cleavage between EA and pop had grown considerably, both in technical
resources and in the quality of the results.

Pop has gone through a certain number of technical "revolutions" during
that period : multitrack analog, multitrack digital, automated
consoles, instruments design, studio acoustics, compressor's look
ahead, etc. Each of these steps did bring "reference" albums that
sounded significantly better than what was produced just before : Pink
Floyd's Dark side of the moon and The wall, Grace Jone's Slave to the
Rythm, Donald Fagen's Night flight, etc. No Genesis album belongs in
this list, far from it. Radiohead's Kid A is a CD produced with a
definite "audio attitude", but does not demonstrate, in my opinion, any
real mastery of the available tools.

In comparison, EA's technical evolution during the same period has been
slower and slower in integrating the new possibilities : multitrack
analog and hardware automated consoles have been largely skipped,
studio acoustics is still out of range. Multitrack digital, instruments
design and compressing have been integrated years after pop, and most
of the time in the lower range of the technology.

My examples were chosen to reveal the technical deficit between EA and
pop. I feel that Pierre Alexandre's examples kind of confuse the issue
in that regard (but maybe he is trying to demonstrate something
completely different...)


- -

Dominique Bassal

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